solarized, signed and inscribed 'Trieste' in pencil on the image, 1932

Robert Koch, San Francisco

Sotheby's Nඣew York, 26 April 1989, Sale 5833, Lot 164

Collection of Margaret W. Weston, Carmel

Sotheby's New York, Photographs from the Private Collection of Margaret W. Weston, 25 April 2007, Sale 8387,🍨 Lot 36      

Giovanni Lista, Futurism & Photography (London: Estorick Collection of Modern Italian Art, 2001), p. 81 (variant)

This fine early print, on double-weight, matte-surface paper, is in generally very good condition. There is a small deposit of indeterminate nature, possibly pencil or ink, near the center of the photograph. There is some wear and small chipping at the edges. Upon very close examination near the upper right corner are 3 very faint, light vertical linear areas resembling streaks that appear to be deposits (of indeterminate nature). They are less than 1/2-inch and are not readily apparent when viewing the print. On the reverse of the print across the width of the photograph at the top edge, there are black paper remnants and several paper tape remnants, all likely from prior mountings or mattings.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The Futurist Wanda Wulz, the third generation in a family of portrait photographers, opened her own studio in Trieste, Italy, in 1928.  In addition to her work as a portraitist, she produced experimental still life compositions, photomontages, and photo-collages.

Wulz became associated with Futurism in 1931, when she submitted a portrait of the movement's founder, Filippo Tommaso Marinetti, to Prima Mostra Fotografica Internationale, a Futurist exhibition in Milan.  The following year, she participated in the Mostra Fotografica Futurista di Trieste, where she presented six Futurist-inspired photographs, 🦹including a variant of the image offered here.   

Futurist Breakfast exemplifies Marinetti's concept of tactilism—in this case, a visual re-creation of the experience and sensation of different te꧒xtures.  It also includes many elements of the Synthetic Futurist Theatre's 'Drama of Objects' philosophy, among them:

     —the creatio🔜n of an imaginary dimension using anthropomorphic allusions

 𒅌;    —the elimination of perspective

 ও    —𒈔the abstract rendering of representational elements

&nb🧔🐼sp;    —the juxtaposition of objects in space

     —the e൩limination of shadows. 

Wulz remained closely associatꦓed with the Futurist movement, producing strikin𓄧gly original works, until the late 1930s, when she returned to studio portraiture.

Photographs by Wanda Wulz are scarce. As of this writing, the present print and a variant, the latter in the Museo de Storia della Fotografia of the Fratelli Alinari, Florence, are the only two prints from Wulz’s 'Breakfast' series that have been located.